The Last of Us liefert in Staffel 2 eine Schlacht wie aus Game of Thrones - so ist sie entstanden - video Dailymotion

GameStar

Die Schlacht um Jackson ist zweifelsohne eines der Highlights der zweiten Staffel von The Last of Us. Die HBO-Serie hat weder Kosten noch Mühen gescheut, um das Spektakel in beeindruckender Manier auf unsere Bildschirme zu hieven. Wie viel Aufwand in die Vorbereitung und den Dreh gelaufen sind, zeigt euch das obige Making-Of-Video.      Der Vergleich mit Game of Thrones in der Überschrift kommt übrigens nicht von ungefähr. Die kreativen Köpfe hinter der HBO-Umsetzung von The Last of Us haben freimütig zugegeben, sich stark von GoT inspiriert haben zu lassen.      Ebenfalls erklärt wurde außerdem, weshalb Staffel 2 einen der größten Schockmomente des Videospiels verändert hat.

Transcript

00:00The Siege of Jackson is not something that happens in the game.

00:12We thought we had an opportunity to create even more of a sense of vulnerability.

00:20It wasn't simply Joel or Ellie who was in trouble.

00:25Everyone was in trouble.

00:27The Cordyceps were going to rise up and take their revenge on Jackson

00:33for thinking that it could protect itself.

00:51This has been circled on my calendar since I read the script

00:54and I was very, very excited for this.

00:57It's going to be legendary televisions, you know?

01:00It's Battle of the Bastards level.

01:02I'm a Game of Thrones fan and just marveled at how they did those things.

01:07And of course, then, in my competitive way, thought,

01:10how do we make something even bigger?

01:12Hire one of the great directors from Game of Thrones

01:14and also from Succession, Mark Mylod.

01:16This episode, even though it's one of the best scripts I've ever read,

01:22it only works if I root for every one of you for your survival.

01:26So make me care, please.

01:27Fight for your lives and fight for your families.

01:29You're freezing cold, but you're fighting for your lives.

01:32Please give me passion every time.

01:34I want you to go home exhausted.

01:35Thank you.

01:36Thank you.

01:36Thank you very well.

01:37The Battle of Jackson took place over a number of weeks,

01:41and every day was this challenge where I'd wake up before the alarm

01:46just in fear of messing something up or under, achieving.

01:50And action, James.

01:51Jackson Hole!

01:53Jackson Hole!

01:54You run!

01:55Creating a battle sequence is like going into war.

02:03What you're seeing is the representation of 5,000 really long meetings

02:09where we have to coordinate what we build physically,

02:14what we're going to create with visual effects,

02:17how we're going to do the snow and the weather,

02:20how we use stun people,

02:22and then how are we going to edit this all together so it feels seamless?

02:30Real flamethrowers.

02:32Dozens of stun people falling off rooftops,

02:36being lit on fire, jumping around, fighting each other.

02:39It was the set piece to end all set pieces for our show.

02:47Cutting there, guys. Cutting, cutting.

02:52I knew that they'd used a small town in Alberta for Jackson Hole in season one.

03:04I didn't actually get the memo that they were building an entire town for season two.

03:11Jackson has expanded in five years' time.

03:14It's kind of crazy, but it's, like, it's beautiful to think that, you know,

03:19if the world, Dardenneer, comes to an end,

03:22like, people are going to survive and they're going to make things work.

03:28So I had this magnificent and huge town as a playground

03:31and all these toys to play with,

03:33and then they are on the page of terrifyingly huge battle,

03:37which I suppose as a kind of crass generalization broke down into three main sections.

03:47Number one, the Horde arrive outside the incredibly well-fortified town of Jackson Hole,

03:54where the townsfolk, over endless planning and use of resources,

03:59have constructed a quite ingenious defense plan,

04:02and they're actually incredibly well-equipped to deal with even an attack of this mammoth scale.

04:09Initially, the plan of rolling, you know, petroleum bombs down ramps to them,

04:15therefore effectively creating this kind of fish-in-a-barrel situation

04:18where they're either burning or they're being shot, is incredibly effective.

04:22What they didn't bank on was a bloater turning up,

04:26and that's a game-changer,

04:27and Tommy is canny enough and worldly enough to know that the fence will be breached.

04:31That's part one.

04:34Part two.

04:36And now we're into a street battle.

04:40So we have this kill zone, this gauntlet set up with snipers up on the rooftops

04:45on either side of Main Street,

04:46with another kill zone and a band of flamethrowers also to kettle the infected in.

04:51So that's all going pretty well.

04:53But the sheer numbers are just overwhelming,

04:58and that takes us into part three,

05:01where Tommy basically lures this agitating bloater down a back alleyway,

05:06and it becomes a duel between the two of them,

05:08bloater versus flamethrower.

05:10The intensity of it was just one of the highlights of my career.

05:14Coming up of the wind in the snow, here we go.

05:33Ready, and three, two, one, action hord.

05:37Wenn die Horde zuerst umgekehrt in Main Street kam,

05:46und in diesem Moment kam,

05:50mit den Kameras hinter diesen vier Mann,

05:53mit diesen kleinen Flamethrowers,

05:55mit hunderte und hunderte Horde,

05:58umgekehrt durch die Straße zu ihnen,

06:00und keine Säfete-Netz.

06:02Das war wirklich schrecklich in der besten Weise für mich.

06:07Our extraordinary team of visual effects magicians,

06:11they will magnify the scope and scale of that core ten-fold.

06:22Digital humans are always a difficult thing for visual effects

06:26to create a photoreal digital human.

06:29Creating hundreds of them is also very tricky.

06:34The best effects I think now in film and television

06:36are usually a marriage of the two, practical and digital.

06:39Alex was always very keen for us to deliver as much as we could practically.

06:45For the Jackson sequence,

06:48we did about 20 to 30 performers each day in close-up prosthetics.

06:53We knew that we were going to have a lot of bodies in a scene running,

06:59and we would only have so many coming close to camera,

07:02and that would determine what we would spend our time and energy on.

07:07In season one, we had a lot of people in the most extreme infected stages

07:12with all these huge cordyceps all over them.

07:15I think now, with sort of the frozen environment

07:18and all these infected erupting out of the ground,

07:21we wanted to show a lot of them in lesser stages, mid-stages,

07:25than the extensive stages.

07:27Three, and three, two, one, action!

07:32Come on!

07:33Right here!

07:35It's really rewarding to see the shots come to life.

07:40Just infected, running into fire, explosions,

07:43there's a lot to pack in.

07:45There we go.

07:55To have a one-on-one fight with the bloater and Tommy,

08:00with a flamethrower, I mean, those are just epic things,

08:03things that we dream of.

08:06I was really proud that I'm the one that's bearing this weapon.

08:11Kudos to all of our effects guys

08:13for getting me trained up.

08:16It was amazing.

08:19We had a really fun day playing with flamethrowers.

08:24Joel and the special effects department had constructed this

08:27almost like a, I suppose, a fireproof rickshaw,

08:30but with a fireproof front,

08:32with a fireproof piece of glass,

08:34so that Robin, our head camera operator,

08:36could sit in there with a fire suit,

08:39with a handheld camera that was also protected.

08:42and basically charge along right next to our bloater,

08:46flamethrower there, and camera right there,

08:48with often the flame coming right across the lens

08:51in such an immersive way.

08:54And the result is an extraordinary sequence.

08:56The expectations with this kind of scope is that it's seamless,

09:02and we are immersed in a way where our visual effects is invisible.

09:08For the burning bloater, it starts with the script.

09:13And we start that process with painting style frames.

09:18So we sort of get on the same page with how the bloater is burning.

09:23I have to find a lot of references of things burning.

09:28And it's a lot of rather grotesque references that I have to find,

09:33just because we're trying to be realistic.

09:35We're not a fantasy kind of show.

09:37We're so where everything has to feel grounded.

09:41This is the city that they built with their hands,

09:43and it's almost all gone.

09:44And I think she sort of get emotional.

09:48Oh, my God.

10:14Oh, mein Gott.

10:16Wenn sie diese Gäste öffnen,

10:19das ist sie letzte Karte, und sie wird es spielen.

10:26Ich fühle mich so glücklich, dass wir es.

10:29You know what I mean?

10:30Even though, at what cost?

10:34This episode ist wirklich über Loss.

10:38Es ist natürlich die Loss von Joel,

10:39das bedeutet so viel für die Charaktere,

10:41und die Zuschauer, und uns als die MAKERS dieser Sache.

10:47Aber es ist auch die Loss von einem großen Teil von Jackson.

10:50Many andere Menschen sterben,

10:51und es geht einfach um die fragilität

10:54der Gemeinschaft in diesem Weltraum.

11:11Ich bin einer Tat.

11:12Ich von einer Tat.

11:15Ich bin einer Töne.

11:17Und da ist eine Töne.

11:19Ich weiß es nicht, dass wir uns mit

11:20Töne anschauen.

11:22Was sich das ist,

11:23das kann lidid pensar machen.

11:24Sánchez der muscle,

11:25das ist klar.

11:26Was sich das zur Bekan interested in?

11:28Da ist genau Ann een viel restart.

11:29Es ist bekannt,

11:29was ich bin ein bisschen

11:30hacerse front канzogen?

11:32Ich kann sich das mit einer Unrecht

11:33direkte rausfinden,

11:35was ich bin,

11:35wenn meine beiden Onavian 모습

11:36die Tatlü in ihr mal

11:36die Entscheidung.

11:37Es gibt uns benenks,

11:38inrs Everyday Coach.

11:38Dasしく ne perché,

11:39ichf Flightacioigos habe.

The Last of Us liefert in Staffel 2 eine Schlacht wie aus Game of Thrones - so ist sie entstanden

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